Toe Tap and Sing – Side by Side by Sondheim

Side By Side By Sondheim

Side By Side By Sondheim Rating

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4

Genesian Theatre Company’s “Side by Side by Sondheim” showcased music from one of the most influential minds of musical theatre, Stephen Sondheim. He had a gift of creating distinct characters, via his witty wordplay and catchy music and drawing you in their world. This was a toe-tapping and energetic evening of musical theatre celebration.

From their opening number “Comedy Tonight” (from “A Funny Thing Happened on the Way to the Forum” 1962), until the closing song, “Side by Side by Side” (from “Company” 1970), I was reminded of the golden age of music in movies and musicals; a period when soundtracks were filled with memorable, timeless songs that really captured the emotions and stories on stage. I was transported back to that era by watching and listening to the outstanding performances of the Genesian Theatre cast. Martin Hong was one of the featured soloists and his steady, smooth voice, easy-going mannerisms and smile portrayed a boyish crooner charm akin to Cary Grant. One of the highlights of the evening for me was his beautifully emotive performance of Losing My Mind (from “Follies”1971).

Director Declan Moore and Music Director Ben Fan created a strong sense of nostalgia on stage, a complete evening where patrons were surrounded by the sounds and styles that defined a special period in musical history. The included songs by Sondheim were in the form of a revue, a collection of songs from 1957 and spanning the next two decades, rather than a performance of one of this musicals with characters and a plot. As a result, the talented featured soloists were able to showcase their expertise in becoming several vastly different characters, often flipping from one character to another quickly.

An example of this is when Sarah Dolan brought us into the mind of an acutely panic stricken bride-to-be with her auctioneer-like, expert mile-a-minute performance in the song Getting Married Today (from “Company”). This harried performance contrasted with her gentle rendition of Little Lamb (from “Gypsy” 1959), where her character Louise is a young girl, singing a lonely song to her plush toys on her birthday.

 

 

Kimberly Yuzon had an impressive vocal range, showcasing control and versatility. Her clear and expressive voice allowed her to convey the emotive tone of the songs to the audience. One of my favourite songs was her rendition of Send in the Clowns (from “A Little Night Music”1973) which was performed with heartfelt emotion.

Elizabeth MacGregor was equally at ease on stage, showcasing a truly beautiful voice. Alongside her solo performances, she sang with harmonious clarity alongside her fellow cast members. Her flawlessly precise and tongue-twisting rendition of “The Boy From…” (from “The Mad Show” 1966) was unforgettable and had the audience laughing. It was remarkable how she managed to keep a straight face while delivering the chorus of this lyrically challenging song!

It was a joy to see the pianist, Lindsay Partridge accompanying the actors visible on-stage for the whole of the show, instead of being in the pit below the stage or behind a curtain. He performed each song flawlessly with heart, his deft fingers no doubt flying with expertise across the keys.

Barry Neilson played the Narrator, who introduced each song and gave the audience some background information on the origins of the song. Barry played different roles, and his expressions on stage were notable and amusing. Being a revue, there were many songs which involved the cast to sing together. It was a joy to watch their interactions with each other and they appeared to be having a lot of fun.

Catherine McKinnon’s costume design for the 5 cast members and pianist Lindsay Partridge had a red and black theme, a clever choice of duo simplicity as the glitz and sparkle of sequins shone like diamonds under the lights. The bright globes, and silver dropped curtains that lit up the stage was a nice touch reminiscent of those glamorous Hollywood times of the past, a fitting view from co-lighting designers Michael Schell and Cian Byrne.

The Genesian Theatre Company has crafted an experience that is not only entertaining but also a profoundly meaningful tribute to Mr Sondheim. If it were possible, I would recommend hosting a special evening where the audience could attend dressed in tuxedos and dazzling sequinned, sparkling gowns—it would be the perfect complement to this extraordinary show!

Side By Side By Sondheim is playing at The Genesian Theatre, 2b Gordon St, Rozelle.
Season: 26 September – 1 November 2025

Tickets can be purchased via the following link:
www.genesiantheatre.com.au/events/side-by-side-by-sondheim

To book tickets to Side By Side By Sondheim, please visit https://genesiantheatre.com.au/events/side-by-side-by-sondheim/.

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Moriarty: A New Sherlock Holmes Adventure

Ken Ludwig's Moriarty

Ken Ludwig’s Moriarty Rating

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7

It’s no mystery why audiences continue to be captivated by Sherlock Holmes—and the Genesian Theatre’s Australian premiere of Moriarty proves just how enduring the great detective’s appeal remains. Ken Ludwig’s whirlwind theatrical caper, directed with flair and finesse, is running now through September 13, and it is nothing short of an amateur theatre triumph.

Celebrating its 80th anniversary and settling into a brand-new venue, the Genesian Theatre Company has marked the milestone with a bold production choice. Moriarty, a complex, fast-paced, and highly stylised Holmes adventure, is no easy feat—but under the company’s deft touch, it sparkles with energy, intelligence, and theatrical magic.

The game is afoot once more with a plot that launches with the theft of incriminating letters from a Bohemian king and soon spirals into a high-stakes game of espionage, deception, and pursuit. Holmes and his ever-faithful companion Dr. Watson are drawn into an international chase to foil the shadowy machinations of Professor Moriarty. It’s classic Holmes—with a twist of modern theatrical ingenuity.

 

 

Eight actors take on over 20 roles, switching characters, accents, and costumes at breakneck speed. This ensemble approach keeps the momentum electric. Peter David Allison shines as Dr. Watson, anchoring the narrative with warmth, wit, and humility. His storytelling binds the chaotic threads of the play into a coherent and compelling whole. Meanwhile, Susan Jordan is a revelation—slipping effortlessly between diverse characters, her skillful transformations and vocal dexterity bringing flair and creativity to every scene.

The technical elements elevate the experience further. From the cleverly used faceless puppets to richly detailed costumes, from crisp sound effects to atmospheric lighting that subtly underscores tension and intrigue, the backstage team delivers period authenticity with theatrical verve.

The production’s brisk pacing—driven by rapid scene changes, constant movement, and tightly choreographed action—keeps the audience on edge. Ken Ludwig’s script is sharp and respectful of Holmes canon while injecting just enough levity to balance the suspense. It’s a treat for both diehard fans and newcomers alike.

Moriarty at the Genesian Theatre is a testament to what passionate theatre-makers can achieve. It’s a love letter to classic detective stories, brought to life with heart, humour, and remarkable creativity.

The verdict? Elementary, dear reader: a must-see.

To book tickets to Ken Ludwig’s Moriarty, please visit https://genesiantheatre.com.au/events/moriarty/.

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The Lady Vanishes

The Lady Vanishes

The Lady Vanishes Rating

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3

Celebrating its 80th year in style and in a brand-new theatre space, the Genesian Theatre Company presents – The Lady Vanishes, adapted by Derek Webb from the novel on which the Alfred Hitchcock’s classic 1938 film was based.

This production is a nostalgic and atmospheric journey back to a time of intrigue and stiff upper lips – all aboard a European train where one woman vanishes and everyone seems to be hiding something.

The ingenuity of the staging cannot be overstated. The design team masterfully evokes the confined, shifting world of a train carriage through clever use of sliding compartment doors and evocative soundscapes. Seamlessly moving the action from the dining car to corridor to first class, the production invites the audience to feel like passengers themselves, peering down corridors and eavesdropping on hushed conversations. This immersive approach is one of the production’s strongest assets, providing a dynamic sense of movement and urgency.

 

 

The story itself remains a compelling whodunit, as Iris Carr – on her journey home – becomes increasingly frantic when a fellow passenger, the governess Miss Froy, mysteriously disappears. What follows is a delightful unraveling of truth and deception, as each character’s potential motive for denial (or deceit) is revealed. The play cleverly engages the audience, turning us into sleuths trying to piece together the puzzle.

Tonally, however, the production feels somewhat uneven. Some actors leaned heavily into broad caricature, while others remained grounded in more traditional realism. This dichotomy occasionally pulled focus from the central tension of the plot.

That said, several performances stood out. The sister duo Evelyn and Rose brought genuine laughs with their dry wit and impeccable timing, while Mrs Barnes was a wonderfully nervous delight. In the central role, Iris Carr shone brightest when allowed to play her role with sincerity and emotional depth.

The Lady Vanishes is a joy to watch and the Genesian’s new theatre space is a fitting stage for this lively, imaginative production – a celebration of the company’s legacy and a testament to the enduring power of classic storytelling. Here is to 80 more years to come!

To book tickets to The Lady Vanishes, please visit https://www.genesiantheatre.com.au/.

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Lord Arthur Savile’s Crime: Planning the Perfect Murder Can Be Chaotic!

Lord Arthur Savile's Crimes

Lord Arthur Savile’s Crimes Rating

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2

Published in 1891 as a short story by Oscar Wilde, Lord Arthur Savile’s Crime was the basis of this satire adaptation by Constance Cox and presented by the Genesian Theatre Company. Although I had previously seen productions over many years at their historic 70-year venue on Kent St in Sydney’s heart of the city, this was the first time I had seen a Genesian Theatre Company’s production in 2025 in their purpose-built new theatre. Lord Arthur Savile’s Crime was performed in their new venue at Rozelle, complete with high ceilings, air conditioning, with every comfortable plush seat having an unobstructed view of the stage.

It is the late 1800’s and Aristocrat Lord Arthur Savile (Brock Cramond) is engaged to Sybil Merton (Catherine Layard), the daughter of haughty Lady Julia Merton. Lady Julia, portrayed with relish by Roslyn Hicks, clearly doesn’t approve of Lord Arthur as a suitable husband for her beloved daughter. Roslyn’s performance as Lady Julia was a standout. Her disdain towards her future son-in-law, highlighted by her finger pointing and sharp words, as well as her outrageously ostentatious white bird hat, made the audience laugh many times! With the hope of getting a dire warning and thus having an excuse to cancel the engagement, Lady Julia brings a famous cheiromantist (fortune teller) Mr Podgers (Kees Harmsen), to see Lord Arthur, who predicts the past and future by reading palms. Kees’ portrayal of a serious soothsayer was excellent, and as he loomed over Lord Arthur, cloaked in a dark suit wearing a black tophat, he created a sense of mystery and foreboding, and was reminiscent of a human grim reaper. Well done to the costume designers, Molly Haddon and Susan Carveth.

Mr Podgers predicts that Lord Arthur is going to commit a crime of the most serious nature – murder! He keeps this news from Lady Julia, and admits it only to Lord Arthur, who then decides he must complete this murder before his upcoming marriage. With the help of his loyal man servant Baines, impeccably dressed in a black suit with tails (Oliver Harcourt-Ham) Lord Arthur goes about planning to poison his dear Aunty, Lady Clementina. The circumstances surrounding this murder change as he tries to implement his plan, and the audience is left holding their breath waiting to see what happens. Lady Clementina was portrayed by Diedre Campbell, who created a character that was so likeable, it left me hoping she wasn’t going to be a victim.

The following attempts as he goes through his possible family murder victim list, conveniently given to him by an earnest and helpful Baines, involve his other Aunty, Lady Windermere (Julia Burns) and the Dean of Paddington (Christopher Hamilton). Involved with the planning and the supplier of certain possible murder items was a member of the Anarchy Society, Herr Winkelkopf, played with comical overzealousness by Sebastian Lodge. His interactions with Lord Arthur and Baines were earnest in his offer to help, and providing items of the explosive type, (that may or may not work, no spoilers) was one of the highlights of the play. The scene where he was delivering a ‘bomb’ dressed in the exact two shade colours of the wall, so as to ‘blend in’, was hilarious!

A supporting character, Maid Nellie, (Amy Silvana Thomas) added to the wealth of the Savile family. At one point, whether intentional or not, I got the impression that Nellie may be more than whom she seems with her intentions.

The playwright’s characters are quite the caricature of Britain’s high society’s wealthy people, as well as the hired help. Every character had some funny quips, which made the 2 hour, 10 min play flow at a good pace.

The music was suited to the era and emotive theme. Sound Designer Rhea Moloo set a scene of intrigue and trepidation during the introduction and interval, with classical songs, such as Palladio by Virtuoso and Ivan Dohovic, Concerto in G Minor and Flight of the Bumblebee.

Lord Arthur Savile’s Crime was masterfully directed by Molly Haddon and has all the elements of a traditional Victorian Crime – with the murder choices popular during that time, spliced with comedic drama. There is the underlying sense of social class motivations of mixed-up morality, as Lord Arthur is continually supported by ‘his people” as he desperately tries to fulfil his supposed future murder prophecy. The result is a very satisfying comedic play with unexpected twists!

To book tickets to Lord Arthur Savile’s Crimes, please visit www.genesiantheatre.com.au.

The Genesian Theatre
2B Gordon St, Rozelle
25 April – 7 June 2025
Running time: 2 hours 30 minutes (including 20 min interval)
Tickets: Full $35 / Concession, Groups 10+ $30

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